I just posted one of many tutorials on scale and arpeggio technique, and I usually embed a video into my word press blog. Tonight I grouped C, G, D, A, E scales together in an approach that analyzes the bridge between the octaves, the occurrence of the tonic thumbs inside the scales, and symmetrical 3's on various points within the scale. I guess this is not necessarily unique, but with my students it is very helpful in gaining fluidity and velocity.http://arioso7.wordpress.com/2010/12/15 ... e-g-d-a-e/

Ms. Shirley Kirsten, I viewed most of your scale "technique" video, and A.) I'm confused about who it is intended for? And B.) you use the term "technique" very loosely. You don't actually discuss any technique about scale playing, rather, means of learning the fingering for scales. Technique is about how one does something. Piano technique can only be learned from another, or to a degree can be reasoned (but never by beginners). If people would simply think of professional dancers as an analogy, there would be much more understanding about what is meant by "technique." Accept as given that all pianists play scales. Accept also as given that all pianists can play them rapidly and accurately. What is left to discuss regarding different pianists will fall within the realm of "technique." How does one hold the hand and shape the fingers? How should the finger move? How should it not move? How (and when) does one pass the thumb and to what position in space, and what path in space should it make or not make? What position should the fingers that are NOT playing maintain? Should a finger (like the 4th) move just because the 3rd does? Should the wrists point laterally in any direction when ascending or descending the keyboard? Where on the white and black keys should the fingers strike? Should we limit the in-and-out movement of the hand while it travels laterally up and down the keys? Should the thumb move like the fingers, or differently in recognition of its different anatomy? When one removes the hand from the keys, what part moves first? What moves last? When both hands are playing in parallel at either extremity of the piano, which way should the torso be turned, towards the hands or slightly away from them? These questions touch upon the subject of technique. The many permutations that we play scales in (parallel, contrary, at the 3rd/10th, at the 6th, in double-note 3rds, in double-note 6ths, in octaves (entire separate subject), with mixed articulations, in contrasting dynamics, in rhythyms of all sorts, even with different keys in each hand!) these are nothing more than the mechanics of piano playing. I have to say that in your video, you actually demonstrate very extranious movements that would hamper any efficient traverse of the keyboard at velocity, and would take some work to "un-learn" in a pupil. One should never allow movements at slow speeds that would impede playing at velocity. I hope you can appreciate now why I am puzzled by the title of your post. I will admit that there are different techniques regarding piano playing, and there are many who play that have never learned any technique what so ever. Essentially, at it's most fundamental level, a piano technique is a reasoned approach to an aspect of piano playing that is intended to facilitate execution, mastery and artistry. Additionally, one can discuss the technique(s) of arpeggios, chords, octaves, pedaling, repeated notes, double-notes, staccato, etc. In and of themselves these are the mechanics of piano playing, but regarding the reasoned approach as to how to do it, this is technique. IMO. <We'll see how this thread proceeds on the matter of technique versus mechanics.>

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

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